Angelina Jolie as a cop hunting down a ruthless serial killer who uses especially grisly methods is a great premise for a film, but you may as well skip DJ Caruso’s Taking Lives and just go revisit Phillip Noyce’s The Bone Collector, a great film that did the concept way better. Lives is a poor excuse for thriller material, a drab, dank and musty slog through a narrative that doesn’t seem to give two shits about its characters and frequently makes little to no sense, not to mention fails heavily at holding interest. Jolie plays a hotshot FBI profiler who is consulted by French Canadian police when their efforts to nab an elusive murderer fail. This is a guy you never really see because every time he kills, he takes on the identity of the victim, blending in and leaving few clues. Jolie searches back through records from decades ago and tried to piece together this guy’s past to find him, but he himself has noticed her and taken an interest. This all sounds terrific on paper but the film they’ve made is a messy, overwrought lump, like a particularly bloody episode of criminal minds without the ‘mind’ part to give the criminal activity any weight. Jolie is joined by Ethan Hawke as a colleague as well as Olivier Martinez, Gena Rowlands, Tcheky Karyo, Paul Dano, Justin Chatwin and more, but none make a huge impression. Kiefer Sutherland shows up as a nasty piece of work who is so obviously a red herring it hurts to see his painfully limited arc come and go like a breeze. Don’t even get me started on the final twist either because it’s too ridiculous. This has the grungy, incisive visual aesthetic of David Fincher’s Sev7n but with none of the pace, doom laden atmosphere or brains to back it up. The only cool thing is the title, which of course refers to the killer’s penchant for both murdering and assuming the lives of those he targets. Neat premise, wicked title, dope cast… shit awful film.
Julia Roberts has many notorious pop culture hits under her belt, all of which become memorable for a reason: they’re flashy, relatable, well made crowd pleasers like Erin Brockovich or Pretty Woman. But that irresistible charm (if you’re a fan of hers) was also put to great use in some quieter, more challenging and less accessible pieces like Lasse Hallstrom’s Something To Talk About, an interpersonal dramedy that explores the relationship between her and her husband (Dennis Quaid) in the aftermath of him cheating on her. She comes from a big family, has headstrong parents (Robert Duvall and Gena Rowlands) who have an influential role in her life and a fiery, fiercely protective older sister (Kyra Sedgwick is fantastic) who literally kicks Quaid in the nuts when she finds out. Now, this is a 90’s film and doesn’t have the same perspective on life we now know today, so her frustration, anger and outrage at her husband’s infidelity isn’t taken as seriously as it could be right off the bat. Duvall is more worried how it may be bad for business than any emotional toll it will take on his daughter, while she simply wants to be heard and allowed to be pissed off at the guy. Her husband reacts with a sheepish wounded animal tactic that wears off when he realizes his wife is smarter than that, and Quaid handles the arc carefully and humbly. It’s basically about the snowball effect an affair can have in a close quarters family situation, and while I enjoyed some of the laughs provided by Roberts deliberately exposing other sneaky cheaters in their tight knit community, I connected most when the film focused on her as a woman wronged, and a woman who’s not afraid to stand up for herself, even if it means stirring shit up royally. She’s a movie star with a mile wide smile and people know her as such, but I think that the high profile roles sometimes have us forgetting what an absolute diamond of an actress she is as well, and small, character driven pieces like this serve well to remind. She rocks it here, and is supported by all around her including Muse Watson, Brett Cullen and Haley Aull as their intuitive daughter. A treasure.